Issue #3 is out now.
We continue to deliver the best critical writing on ceramic art with contributions from professional writers and critics.
What these vessels seem to require of us is that we keep earthwaterfire unsplit. And yet it’s strange to think about water when talking about ceramics. Fire? Yes. Earth? Yes, as I have said. But water? Yet with this exhibition we feel as if we’re in the presence of ‘solid water’ – not ice, the usual form of water in its solid state, but water solid on earth!
John Hughes responds to Rowley Drysdale’s series of work titled The Wallace Line Within
Making a river bowl is a pulse and pause of clay wheeling. It is best done without speaking. It is best done by listening. It is necessary to feel from fingertips to arms, shoulders, lower back, thigh muscles, to the balanced balls of feet, the left on ground bracing, the right the rhythm and speed maker on the wheel’s steel pedal.
Louise Boscacci: A-bodied: How to Make a River Bowl
In that single pot was the memory of ninety-nine more. Wheelwork is school for the fingers, it’s yoga for the hand, it’s a portable, potable wisdom, a muscle memory. There is poetry in the rhythm of repetition Jane tells me. There is humility too. The trick is to be brave and begin.
Carolyn Leach-Paholski: In the Right Foot, a First Step is Waiting*
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